What Drives this Work?

GOLDEN exists as a musical composition, a painting, and a poem. Created by Jeffrey Hoover, GOLDEN is an example of his work where an idea is presented in multiple artforms simultaneously. As the composer, the painter, and the poet, Hoover is able to use the elements and principles of the separate artforms and the audience’s response to bring these works together. This performance is by Rebecca Jeffreys, alto flute, and Molly Lozeau, piano. Contacting the artists: Jeffrey Hoover – artmusic1@verizon.net, Rebecca Jeffreys – rjeffreys@charter.net, Molly Lozeau – Mollylozeau@gmail.com.

In 1990, Jeffrey Hoover created his first interdisciplinary work The Colors of Music, a combined work for electronic music, paintings, and dancer. A series of seven paintings and seven musical movements, the work explored ways how art and music (and also dance) could be combined to allow ideas to be both seen and heard. Since then, as both composer and visual artist, Hoover has created a body of works that gives the audience this unique aesthetic experience.

As a painter, Hoover combines acrylic, pastel, charcoal, and sometimes watercolor on both canvas and paper. Working in series lends itself well to connections in multi-movement musical compositions. His musical materials include electroacoustic media, acoustical instruments, the voice, and sounds found in nature that are recorded and manipulated. Being able to both see and hear affinities is a remarkable experience for the audience, giving a richer experience of the wholeness of an artistic work. Because these works are founded in the passing of time, the works are often abstract, reflecting this temporal feature, although figurative content and realistic content is sometimes found.

An important question about combined artistic works is whether diverse arts disciplines are truly joined or are merely experienced parallel to each other. The answer to this can be found through considering the phenomena of the art forms. The phenomenological relationship between the painting and the music is at the center of the creative process. Without strong connections, such work risks becoming fanciful caprices, where the connective experience is subjective on the part of the artist. Hoover’s belief is that artwork, in any discipline, must project to the audience on its own merits, without interpretation or narrative by the often-absent creator. The elements and principles of any artistic discipline can be articulated, and the connections between works can be considered and validated as part of the experience. While the cultural and artistic context of a work is important to fully understanding the work, the core of understand must come from the work itself.


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